Topic Information: The dancing of the female before the male, that she be found pleasing and he be pleased, is one of the most profound lessons in all of human biology." (Dancer of Gor, p.193)

When you begin a dance, you need to set the stage for your audience. Do not simply begin dancing. You should first describe the setting of your dance. Are you in dancing sands, atop some furs, on red tiles or on a cold stone floor? Are you dancing by candlelight, torch-light or lantern? Next, you should also describe your self to your audience. If the information is not in your profile, you should describe your physical attributes and emphasize your best features. Remembers that Goreans found every part of a woman to be beautiful. Do not just describe your breasts and buttocks. Mention your hair, your legs, your hands, your ears. Then, you should describe any clothing or items that you are wearing. Are you naked, in silks, or wearing a ta-teera? Do you have any shiny bangles, bracelets or such? Are you wearing slave bells or holding zills? Paint a vivid picture of what your audience will first see when you appear before them.

Once you begin your dance, do not forget the initial picture you have given to your audience. Incorporate those items into your dance to enhance the vividness and reality of the dance. The surface you dance upon will affect how you can move. Dancing on sand is much different from dancing on tiles. Will your silks remain on you throughout the dance? Will they slowly be dropped during certain phases of the dance? Use the jewelry you are wearing to catch the light and sparkle at certain moments. If you have many bangles on, maybe the sound of their clanging will ring out. If you are wearing slavebells, they will definitely be making noise and you should describe those sounds, using them to stress certain movements. Use your zills to punctuate your dance at key moments. Do not forget the little details.

Another part of your setting would be music though online a dancer and her audience do not share a background of real music for the dance. A dancer's audience cannot hear the savage and sensuous rhythms of Gorean music. No flutes, no kalikas, no tabors. Instead, a girl must describe to her audience the type of music that would be present. She must tell them the instruments that are playing, the tempo and style of the melodies. A change in the music style is a good way to inform the audience that the dance is entering a new phase. The music is an important aspect of your dance. It helps create your atmosphere and depict the setting of your dance. Online, we are deaf so the dancer must be the ears of the audience and describe what would be heard during the dance.

When you begin your actual dance, you must describe it well, detailing your exact body movements and facial expressions. The more details you add, the better the dance will likely be. Let your movements and expressions depict the emotional state you are trying to portray such as your desire, your fear, your pride. These movements and expressions may change often in a dance, especially during each new phase of the dance. Mention your eyes, your mouth, your brow, your tongue, your nose. Describe what you are looking at, where your head is turned, the placement of your hair. Elaborate on the movement of your hands, fingers, hips and torso. Do not ignore any part of your body. Body language is a very instructive tool in understanding a person's emotions and feelings.

A major caveat is that there is a major difference between "telling" and "describing" an action or feeling. For example, maybe a girl is trying to depict her fear of pursuit by an unknown hunter. If you were just "telling" this to your audience, then your dance might read something like this: "She turns with a look of fear toward her pursuer." That does tell us what we are supposed to know but it does nothing to describe what the dancer is really doing at that moment. It fails to properly describe the dancer and her movements and expressions. Instead, it tells someone what they are supposed to surmise from the dance. It is not really dancing at all but is simply story telling.

Belt Dance: This dance was developed and made famous by Port Kar dancing girls. It is performed on love furs with a Warrior. It receives its name from the basic principle that the girl is not supposed to rise above the Warrior's belt. It is very important that the girl does not rise to her feet. This dance will likely include many floor movements as the girl is not on her feet. This dance has phases and in the later phases of this dance the girl acknowledges that she is the Warrior's and tries to please him. He will remain aloof from her and her efforts will get more desperate. At the climax of the dance, the girl will be on her knees. The Warrior will be at her side, holding her behind the small of the back. The kajira will bends backwards until her head touches the furs and then the Warrior will lower her to the floor. They will end the dance in a kiss.

Chain Dance: The kajira obtains a length of chain from a Free person and uses it in a dance to show her submission and joy of being a slave. The chain can be wrapped around her body and the girl will writhe and fight at first, but knowing her true path as a slave in Gor, she will be submit because of her desire and the fire within her belly. In the end, she will rejoice at feeling the confinement of the chain around her slave heart.

Dance of the 6 Thongs: The girl has 6 leather thongs attached to her body at her ankles, wrists, belly, and neck. The dance begins with her capture. She will show her defiance until she is subdued by the Masters that hold her. The girl is presented to one Master, who asks her if she is slave, to which she will proudly proclaim, "la kajira!"

Gorean slave Dance: This can be done in any style a girl chooses. It typically begins with the girl seeming to be shy and timid, standing in the middle of the room, her eyes wide in fear and usually without silks. In the beginning, she fights being caught by the Master but then, under His strong hand, she feels the anger change to delicious submission as the Master subdues her and makes her His own. In the final stage of the dance, the girl will show her complete submission to the Master and her desire to please Him in all that she does. Often a chain and collar are used by the Master to "subdue" the girl.

Love dance of the Newly Collared Slave: There are many variations of this dance and most cities have their own version. The basic theme of this dance is that a girl dances with joy that she will soon lie in the arms of her strong master.

Need Dance: This dance is typically performed in five stages. During the first portion, the girl feigns indifference to her situation. In the second, she slowly becomes aware of the burning desires within, and struggles mentally to deny them. During the third stage, the girl will openly express her desire and willingness to please the Masters that she dances for...the girl will doubt her own worthiness, evident in her movements, both graceful and timid. In the fourth stage, the girl will blatantly display herself, showing her heat and need to be taken. The fifth and final stage, the girl openly begs to be used, needing this to make her complete.

Placatory Dance: This dance is performed to reassure the Master of the authenticity of the slaves contrition and the genuineness of her desire to do better. It is not a fixed-form dances, but is considered a 'free-form' dance, in which the slave, brings her own personality and movements, all based on her knowledge of the Master she is trying to appease.

Pole Dance: The kajira will seemingly attempt to arouse and entice the pole or "Master" with erotic movements that involve her touching and caressing "Him" (the pole), beckoning her use by "Him". This dance can be done by securing the kajira to the pole either real or imagined or the slave may remain free from the pole, swirling around in frantic and heated movements.

SA-EELA: The Sa-eela is one of the most moving, deeply rhythmic and erotic of the slaves dances of Gor. It belongs, generally to the genre of dances commonly known as the Lure Dances of the Love Starved Slave Girl. The common theme of the genre, of course, is the attempt on the part of a neglected slave to call herself to the attention of the master. The Sa-eela, usually performed in the nude, as though by a low slave, and by a girl freed of all impediments except her collar, is one of the most powerful of slave dances of Gor. This is because each girl, in her own way, brings the nature of her own body, her own dispositions, her own sensuality and needs, her own personality, to the dance.. For the woman, slave dance is a uniquely personal and creative art form. Too, it provides her with a wondrous modality for deeply intimate self-expression..

Serving (Scarf) Dance: Performed using ribbons or scarves as a form of enticement for the Master. The girl will offer to serve the Master in a most exciting manner. She typically wears a costume of scarves or uses a ribbon to arouse both herself and the Master. Falling to her knees, she offers a lustful serve of ka-la-na.

Submission Dance: Performed for the girl's true Master, each dance is different and unique, as is each Free person. It can be done in many ways, from the kajira allowing her hands to roam her own body in throbbing lust for her Master, to the girl writhing in desire and submitting at His feet. It is a very individual demonstration of a slave's true submission to her Master.

Tether dance: This dance is similar in some ways to the dance of the six thongs and the pole dance. The girl is tethered to a slave stake. She may then either fight the tether or love it. The tether may confine her body or caress it. The girl may also incorporate the slave stake in her dance so it becomes similar to a pole dance as well.

Tile Dance: Done on red tiles before a Master, this dance seeks to arouse Him to sexually take the girl. The slave does so by touching her own body and gesturing to Him that she is most willing to see to His every need. The dance is done completely upon the tiles often while the girl lays on her back or belly. The girl is usually attached to a slave ring below the Master's couch.

Virgin dance: There are three basic categories of virgin dances. First, they refer to the types of dances fitting for a virgin. These dances would rarely be seen in a tavern. Second, they refer to any dance that displays a virgin who is soon to lose her virginity. Third, and most commonly, it refers to a "role" dance where a girl dances as if she was a virgin but knows she is soon to be ravished. This type of dance is rarely done by an actual virgin. It is not a story dance but is more an emotional or attitudinal piece.

Whip Dance: This dance can involve the participation of a Master who will crack a whip above the girl's head as she dances, or, in most cases, the girl will be allowed the use of the whip and will crack it herself during her dance. It is performed to show the kajira's fear of being punished, but also to show the desire of the kiss of leather, the passion of and the fear of punishment.

Last edited by eris-FG on Wed Dec 26, 2012 4:07 am; edited 1 time in total

GuestGuest

Subject: Re: Weekly Lesson #10 Dance Sat Dec 22, 2012 8:29 pm

ok so what is the assignment if girl may ask? what do you want done with it so i can finish it?